Well, to a certain extent. I was at the Warsaw Autumn performing with a friend of mine—Krzysztof Zarebski—who is a performance artist.Called Out Quartet (3 of 5)
For me, that fascinating juncture of staging, lighting, text, and music is what opera is supposed to be. Cage took the cantus firmus, and he made all these different single lines where the pitches are chance determined, either above or below the cantus firmus.
It was written on manila manuscript in pencil and I never got a string quartet to play it. I had this metaphor that I said once in a composition class.
The pre-composition or meta-composition, the composition before the composition, the overriding way things are organized. What I found there astonished me for a variety of reasons. I digitized it all. It was beautiful and seamless, and everything about it worked.
Somehow that seemed appropriate though. I gave them 15 minutes to come up with a piece.
That focuses you there for a certain amount of time and focuses the work that you can do there. We reserve the right to remove any comment that the community reports as abusive or that the staff determines is inappropriate.
I get an idea and for some reason the string quartet is the ensemble that I go to for fulfilling an idea. So do you ever go off to artist colonies? You included a piccolo concerto that you wrote when you were in high school. They look at the score, which has a time code as well as a stage breakdown. The tradition of writing for string quartets is an old tradition, and it is very clearly and very precisely notated, down to all the articulations and bowings.
And a very poor recording made on a cassette player. Being so open, even to what others would perceive as noise or interruption, is perhaps as open-minded as you can be musically.
But I guess I should maybe scan it or something. Another opera that I did was called Dice Thrown.
Most of that was chance determined, then some of it was also a kind of physicality at the piano, with me playing.